Correspondence

Kalmus is glad Schenker approves of the type samples and gives estimates for the
extent per page, has not yet heard from Wellesz re the "Appassionata" Sonata, is contacting
Hertzka about the "Waldstein" Sonata photography, will send documentary evidence regarding a
1912 payment, and sends copies of Beethoven sonatas.

Kalmus confirms receipt of EA Op. 101 manuscript; he inquires about the
publication sequence between EA Op. 101 and the first issue of the Kleine Bibliothek, and about
the autograph manuscript for which Schenker is waiting.

Schenker returns materials for the Fifth Symphony article, reports a delay in
providing information for the facsimile edition of the "Spring" Sonata, and complains that he
has futilely lavished time on the purification of the German language for the second edition of
Die letzten fünf Sonaten ... Op. 109. — He agrees in principle to Hertzka's idea of an
"Urlinie-Ausgabe" of the Beethoven sonatas, and agrees to announce it in Tonwille 2, but asks
how the first seventeen sonatas are to be done retrospectively, and rejects the suggestion that
his pupils might make the preparatory graphs.

Schenker reports continuing trouble with Hertzka, especially over delays to the
publication of Tonwille 5 and 6, which were supposed to appear the previous year, and is
beginning to think about legal action. Hertzka has made his position so difficult that he feels
obliged to turn down Max Temming's offer of direct financial support for his work. He asks
Violin to help find a post in Hamburg for Carl Bamberger, a gifted pupil who, though he
neglected his piano studies for a while, is keen to make up for lost time. Finally, he asks if
Violin received any of the four volumes of the Beethoven piano sonata edition.

Violin acknowledges receipt of Tonwille 5 and the Beethoven sonata edition. In
the former, he finds the graphs of the short preludes by Bach more difficult than anything that
Schenker has previously done. He will write to Bamberger with the offer of help (in finding an
accompanist post in Hamburg). In response to a question on the "Appassionata" Sonata from one of
his pupils, he offers an explanation for the falling direction of the transitional theme
(measures 24-30) and its reappearance in the development section (measures 94-100) in inverted,
ascending form; he asks if this interpretation is sensible.

Schenker confirms Violin's interpretation [given in his previous letter] of the
"Appassionata" Sonata, and describes continued difficulties with Hertzka. Herman Roth has
written to say that he and his son are using Schenker's analyses of Bach preludes in their
counterpoint classes, and expresses the hope that one day they will continue Schenker's work
independently.

In response to matters raised by Halm in two previous letters, Schenker discusses
figuration, distinguishing between that which works only on the surface and that which arises
out of the middle and background, drawing on primal intervals. He also concedes that he heard
Bruckner improvising, and criticizes it adversely. He refers to Reger, and outlines plans for
forthcoming volumes of Der Tonwille.

Van Hoboken sends New Year greetings; reports that he is to see in the Paris
Conservatory Library the autograph manuscript of Beethoven's "Appassionata" Sonata, which
Einstein has apparently already photographed; he will travel to Vienna on January 6 for lesson
on January 9.

Drei-Masken Verlag says that there are plans to publish the autograph manuscript
of Mozart’s Don Giovanni in facsimile. They are in the process of finishing the first
Meisterwerk Yearbook, note Schenker’s wish for wider Urlinie graphs in future
yearbooks.

The large-format graphs prepared by Harry Hahn have been greeted
enthusiastically by Schenker's pupils and friends; Schenker suggests that a "light
projection apparatus" (i.e. an overhead projector), which is now often available in schools
and hospitals, might be more practical.